Episode 1 of “Black Summer” (2019) looks quite promising.

The hectic first episode of “Black Summer,” Netflix’ new zombie series, looks like ambitious stuff — it plays like a hybrid of “28 Days Later” (2002), “Pulp Fiction” (1994) and “24” (2001-2014).  While it seems unlikely that this show can emulate the greatness of those classics, “Black Summer” still gets off to a damned good start.  I’d rate the first episode an 8 out of 10 for being a pretty lean and mean start to a decent zombie series.

Part of the episode’s appeal is its frantic vibe and format — something that seems like a deliberate contrast to “The Walking Dead’s” slowly placed, methodical epic.  The viewer is plopped down into the middle of a heartland neighborhood evacuation effort, three weeks into a zombie epidemic.  With a series of lengthy, real-time tracking shots, we race beside a collection of unconnected characters who are desperately trying to reach United States Army pickup point.

The zombies are few in number.  But they are the “high-speed zombies” that most modern horror viewers associate with Danny Boyle’s film, so the arrival of even one imperils the fleeing families.  The makeup effects are good, the transformation process is effectively rendered, and the show is satisfyingly scary.  The show makes this even more interesting by filming each character’s dash individually, and then showing them as discrete vignettes that are out of chronological order.  

The story is weakest when it slows down enough to allow its characters to talk.  The dialogue is truly bad, even if the quick action sequences make up for it.  (Has there ever been a more generic bribery offer, for example, then the one we see here?)  But this weakness doesn’t much affect the overall quality of an episode that follows so much action.

I was even more surprised that the episode works when I googled “Black Summer.”  The Netflix series is produced The Asylum, the film company notorious for “mockbusters” like “Dead Men Walking” (2005), “Snakes on a Train” (2006) and … sigh … “Transmorphers” (2007).  What’s more, “Black Summer” is intended as a prequel series to  The Asylum’s “Z Nation,” the lamentable horror-comedy zombie series that ran for three seasons on SyFy.  (It was so bad I couldn’t get through a single episode.)

It’s a weird world.

 

black-summer

Alpha on “The Walking Dead” was Agatha in “Minority Report” (2002).

Didn’t see that one coming.  (Waitaminute. Why are actors “on” shows, but “in” movies?)  The name of the actress is Samantha Morton.

She’s bald in both roles, and both roles depict her in dystopias.

And her characters are repeatedly referred to by others as “the strongest” member of their group.

AND both the show and the film place her in a key plot arc in which girls are taken from their mothers.  Damn.

 

agatha-john.0

 

A short review of Episode 1 of “The Passage” (2019)

I’m all for a good vampire story.  But this isn’t a particularly good vampire story.

Or, at least not yet, it isn’t.  Don’t get me wrong — the premiere of “The Passage” wasn’t the worst hour of television I’ve ever seen.  I’d rate it a 5 out of 10 for being somewhat average.  It has two good leads in Mark-Paul Gosselaar and Saniyya Sidney.  Gosselaar is no Laurence Olivier, but he’s good enough, and he looks and fits the part.  He seems like an excellent physical actor in the premiere’s brief action sequences, which weren’t altogether bad.  Sidney is downright terrific — and she’s an adorable kid too.

The show also has a great plot setup going for it, which I won’t spoil here.  It’s based on a trilogy of dystopian horror novels by Justin Cronin, which actually sound like some quite interesting books.  There are even a couple of sly references to well known horror films like “Bram Stoker’s Dracula” (1992) and “28 Days Later” (2002).

Regrettably, however, “The Passage” suffers a lot from rushed and clumsy storytelling.  The script is a poor one, with a lot of awkward exposition and forced emotion.  (It shares a weakness with this year’s vastly superior “Bird Box,” in that it tries to fit too much of its source material into too little screen time.)  It falls well short of being scary, too, which is probably what will alienate modern horror fans, unless it improves.  (This is a primetime network TV show, and isn’t any more frightening than the average episode of “Star Trek.”)

Weird world — Gosselar is none other than the Zack from “Saved By the Bell” (1989-1993).  And am I the only one that thinks he is the spitting image of Chris Pratt in a lot of shots.  I almost thought it was Pratt from the ads.

 

mv5bnjcymja2mjuwmf5bml5banbnxkftztgwmda3oty3njm@._v1_sy1000_cr0,0,675,1000_al_

A short review of “Patient Zero” (2018)

I’d be lying to you if I told you that “Patient Zero” (2018) is an especially good movie.  It isn’t.  It plays a lot like the classic “28 Days Later” (2002) would play if it were produced by the SyFy Channel, and by that I mean it generally is a poorly written, low-budget cheese-fest.  (This is one of those movies where even the score was kinda bad.)  Still, there were some hints of greatness hidden within this lackluster zombie movie — enough to save it from being a complete failure — and I would reluctantly rate it a 5 out of 10.  (Most other reviewers are not even that kind.)

First, it has some fine performers. These include two “Game of Thrones” actors who are always fun to watch — the mesmerizing Natalie Dormer and the consistently likable John Bradley.  (The latter seems to specialize in winning audiences over as the “hero’s-affable-friend” role.)  “Doctor Who” fans will of course recognize Matt Smith in the lead role.  But by far and away, they’re overshadowed by a fantastic performance by Stanley Tucci as the zombies’ surprisingly eloquent leader.  (More on that in a moment.)  Tucci is truly a great actor and he makes a perfectly menacing bad guy; his voice, diction and line delivery are goddam perfect.  His talent for voicing a magnetic, highly intelligent antagonist reminds me of Jeffrey Dean Morgan’s portrayal of Negan on “The Walking Dead,” or one of the better “big bads” seen on “24” (2001 – 2014).

Second, there are some really clever ideas hiding under this thin, hasty script.  (I strongly get the sense that “Patient Zero” was a rush job for screenwriter Mike Le and director Vincent Newman.)  The hyper-kinetic zombies here are afflicted with “super-rabies” and are reminiscent of their ilk from “28 Days Later.”  But there is a truly intriguing plot conceit — their roars and screams are perfectly intelligible to Smith’s protagonist.  He speaks their “language” because he’s infected, but also mysteriously asymptomatic.  When he interrogates the zombies for the military, their interaction is filmed as normal dialogue (creating the opportunity for Tucci’s terrific turn here).  Then things get even more interesting when it’s demonstrated that the ostensibly mindless zombies are quite proficient at planning an attack.

I … might be treating this movie a bit charitably simply because I liked some of its ingredients.  Again, I don’t actually recommend it.  But your mileage may vary.

 

17YBhcjXvv5BFz433OcF1UqcGzd